VIEW IN MY ROOM
About The Artwork
As we move towards a more rational existence, we expect respect. For coastal millennials, this is such an obvious assumption that such a point seems moot, and yet, here in 2017 we still roam around asking each other who’s lives matter. In the meantime, the rights of many of American citizens being trampled on like a macabre ‘Black Friday’ escapade. Are we an America where racism, sexism, ageism and other forms of oppression prevail or are we a world where brotherhood of man and the right to dignity are protected? These questions underpin the social predicament we find ourselves in. Such systems are not adequate. A Community Painting Project was held at an event in February 2017 where guests were invited to paint by numbers but decided to paint by ideals instead. Respect Our Existence was created as one of the paintings in this series. The images were first designed in Photoshop and transferred onto canvases as a “paint by number” set up with mere suggestion of what to fill in between the lines.The only parts painted in oil by Inga herself were the faces and hands of the figures. The canvases were then hung at a community event with brushes and acrylic paint quietly placed underneath yet without any further given instruction. Guests ranged from venture capitalists actively disassembling our world for fun and profit to homeless artists struggling to make ends meet. The result is a set of posters that revolted into expressionist paintings.
Details & Dimensions
Painting:Oil on Canvas
Original:One-of-a-kind Artwork
Size:29.9 W x 39.8 H x 0.8 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships in a Box
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Ships From:United States.
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I believe that civil discourse can be engaged with through public art and am currently running a kickstarter campaign for a community painting project that raised 75% in the first 48 hours. Check it out: https://www.kickstarter.com/projects/1973271377/murals-across-america-flint I am interested in painting not only because of its versatility as a medium but also because of its rich historical repository of images and ideas. By tracing the history of the figure in art I have learned and understood better the history of political events, shifts in spiritual beliefs and the tides of intellectual thought. Over the years of working with the body in drawing and painting, investigating the opportunities and revelations that arise, I have begun to understand myself and my place in society as a female, immigrant and artist. My current paintings explore seemingly anachronistic means of representation to depict historically significant events in the present, especially in relation to the depiction of the figure. I have been interested in the global wave of civil unrest as represented by TV and journalistic news media for some time. However, it was only when I saw an image of a 19th century looking barricade in the center of Kiev that I decided to go to the country of my birth and investigate the Ukrainian situation for myself. Thus, I spent a week on the barricades on Maidan, the square where the whole unfortunate crisis started. I happened to arrive at the right time in late January 2014, it happened to be the tipping point between two months of peaceful protests and the violent clashes that followed. Events have unfolded rapidly since my visit and my key sources of information transformed from firsthand experience to social media posts and discussions, live news media coverage and talk shows attempting to analyze the events. My latest work was created in response to my personal experience of the protests in Kiev, engaging with the protesters and subsequent observations of the unraveling of Ukraine’s modern political history as seen from abroad. I am interested in the potential role that painting can play in interpretation and documentation of historical events. At the same time, I am investigating the possibilities of history painting in contemporary society, mainly its relationship to the impossibility of objectivity.
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